Duo-Scapes               Twilight in an Autumn Rhythm No.1

                Twilight in an Autumn Rhythm
            Twilight in an Autumn Rhythm, No.1, 2004,   45 X 108", acrylic on un stretched canvas, inset is oil on board, 11 X 14”

For this photo presentation, Griffin has suspended Twilight on a clothes line strung between two apple trees where it flapped and danced in the autumn breezes.  "I wonder what Pollock and Gifford would have thought about that," Griffin commented. 

Close-up Twilight
Close-up of Twilight in an Autumn Rhythm No. 1  Twilight,  8 x 10"  oil on board

Jackson Pollock played with line and simple colors.  Griffin has copied the center portion of Autumn Rhythm and dribbled black paint over the small painting mounted in its center to represent a link back to nature.   Twilight is actually set into an Autumn Rhythm.

           Pollock's painting
           Jackson Pollock, Autumn Rhythm, No 30, 1950.  Oil on canvas, 105 X 207”.

Pollock workingJackson Pollock (1923-1956) stepped away from representational art and traditional planes of perspective to create a realm of optical space with his series of drip paintings.  He took Paul Klee’s “walk with a line” one step further by inviting gravity to become his painting partner. Together they created many fascinating works of art.
Autumn Rhythm is basically four colors on a tan ground. But these colors swirl and tangle around one-a-other to give the impression of the whole Autumn experience—leaves, earth, twigs, and trees all bounding with the last dance of life before the coming of Winter.       
Though Impressionism permitted every artist to do what he, or she, wished, basic rules of design are hard wired into the mind and help determine a work of art’s sticking power.  Jackson Pollock’s works have sticking power.
After one has simplified art down to the “haphazard” dribbling on a canvas, one may come back and reappraise objects and landscapes with new eyes.  The centrifugal force of a growing and changing culture confronting modern technology and ideologies will find its own boundaries.  Through it all, Nature stands patiently by.
Jackson Pollock at work on        
Autumn Rhythm No 30

 

Gifford's painting
Sanford Gifford (1823-1880) was raised in Hudson, New York.  He studied with Thomas Cole, who lived across the river in Catskill. This view is from the top of Haines Falls looking east through Kaaterskill Clove toward the Hudson River.  This was a favorite subject for the artists of the Hudson River School.  Though the artists often painted the same scenes, Gifford always managed to find a different vantage point or new perspective.  Here he has minimizes the stream that careens over the edge of the precipice and focuses on the mountains stepping back to the horizon.

Sanford Gifford,Twilight Park, 1860, 8 X 14”.  Oil on canvas

Further reading:
Jackson Pollock, Landau, Ellen;  Abrams NY, 1989
Frederic Edwin Church- In Search of the Promised Land,  Carr, Berry Hill
American Paradise- The World of the Hudson River School, Metropolitan Museum of Art

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